Shi Zhihao: Use the seal to drip

My stamps are almost always given by others, and when I use them, I will "create a second degree" according to the style of the work.

The master of Chinese painting, Qian Songyao, wrote the book "Yanbian Drip", which summarized many "secrets" from the perspective of painting practice. For example, when the color is colored and the color rushes out of the contour line, "as long as the color is flushed out of the edge with clear water, after drying, you can't see the color edge, as if you haven't crossed the boundary." For example, he said that if the painting is broken or the typo is written on the folding fan, "you can use a clean brush to dip it in water, and the nib of the pen is dipped in cigarette ash, and the cigarette ash is thick with water, which is thick with water, gently washed on the handwriting or the wrong place of the painting, and then passed with clean water, immediately without a trace."

Don't do a good thing, do something. Almost all of my seals are given by others, and I am not in a position to ask how the seal engravers are, and I never specify a style when asking for seals, and even Zhu Bai listens to them. When I use these seals, I have to "create a second degree" according to the style of my own work. The first is the choice of printing clay, fortunately able to get to know Mr. Ying Mingsen, who is a famous ink clay artist on the sea. The color and wetness of the printing clay directly affect its use effect, but this varies from person to person. I like the darker cinnabar mud, the effect is more quiet or "old". The author once got Mr. Liu Danzhai's 1978 xiaoxiao, on the plutonium "Dan house is harmless" Zhu Wenyin, I covered the "dyeing hall over the eye" in the lower right of the seal, using the "Ying's secret" printing clay, amazingly with the party "Dan house unharmed" seal almost the same effect.

Secondly, for the stamp style I got, I "adjusted" it when I printed it. The author's book is not exquisite in work and painting, and it is also attached to the style yasu Xihan ink. In the use of seals, I also like the more freehand printing style, which is also because the freehand seal is more suitable for "reprocessing". The seal of work stability must try to "restore" its original appearance, and it is not easy to "make a hundred hairs and a hundred strokes". The seals used by the calligrapher Mr. Ren Zheng are mostly made by Chen Julai, and he knocks them up at this level, which can reflect the original composition of the giant. And the freehand seal is sometimes too "put", and I have to "collect" a little when I knock. Specifically, the original Zhu Wen is too coarse, so I made it more detailed when I knocked it. In addition, I don't think it is enough to "put", that is, the white text is too thick, so I make it thinner when I knock. To have such an "effect", in addition to the previously mentioned printing clay level, there is also the technique of plutonium printing. In the position to be stamped, first use the fingernails to polish the rice paper, and then according to the desired effect, I will choose to pad thick glass under the rice paper, or add a napkin (soft) to the glass, or add an A4 paper (too hard), in any case, never under the rice paper to pad the book, or directly on the felt. I have also heard that there are seal engravers who can finish the cover once, pick it up to see the effect, and if it is not ideal to repeat the cover, the second knock can cover the first draft without any mistakes. I remember that a friend gave me a "twenties" seal, she said that she carved it more "frankly", and asked me to dip the mud into thicker as well, otherwise the line would be a little thin. In the process of using it, I gradually realized the "law" of using the seal.

Third, the choice of seal size is also a hurdle. This is a big reason why calligraphers and painters have so many seals, and the text of the same content, large and small, must have several sides. For example, Mr. Tang Yun's "Great Stone Zhai" was printed, and Mr. Ye Luyuan carved at least five of them. I have seen that the side section of the "Great Stone Zhai" seal is "Lu Yuan is the fifth time that the Great Stone Zhai Seal has been carved." Peng Shu Heavy Nine". This is because the art of writing itself needs to change, and the more direct reason is the size of the seal. Generally speaking, the size of the seal is based on the size of the text, so the smaller stamp is more useful, but there are exceptions. For example, Mr. Pan Tianshou likes to knock a big seal on a small painting, which is not obtrusive, but strengthens the sense of magnanimity of the picture. I sometimes like to deal with it this way.

Fourth, the number and location of plutonium prints must also be considered. I once heard a seal engraver say that Mr. Xie Zhiliu used the seal to be exquisite, and once said that if one side of the seal is enough, he does not want a second party, and if the eight parties are not enough, he will use the ninth party. I now use the seal basically one to two parties, first, the number of my own stamps is not much, and second, I see many cultural celebrities to stamp a seal. One teacher said, "Xiao Shi, Nong is getting more and more understanding now." The position of the stamp is the last level to determine whether the whole work is "perfect", if there is a mistake, the previous achievement will be abandoned, of course, the size and position of the money is also very important. (Shi Zhihao)